(4 / 5)

The Last Laugh is much more than exceptionally talented performers doing impressions of three comedy greats of the past. The portrayals here are incredibly touching and eerily true to life in the tiniest expressions and mannerisms. Penned by Paul Hendy, this is a production that reaches beyond the public personas of these three giants of British comedy to reveal the personalities, the insecurities and the battles of the men beneath. It’s definitely a rib tickler of a production but it’s much more than that, with moments of poignancy and a final tableau that breaks the audience’s collective hearts.

From the moment Damian Williams appears on stage in vest, pants, duck feet and, of course, Cooper’s infamous fez, we are drawn to this infectious, honest, compelling performance. The voice, mannerisms, the easy way with the audience are all spot on; the ‘just like that,’ the laugh, the endless abuse of Bob Monkhouse, is all eerily accurate of the late comedian. His quieter moments counterbalance this perfectly, his blank stares into the mirror, the glance out to the audience as he picks up his props, alone. The final, heartbreaking scenes are delivered with absolute poise and the silence from the audience, where there once was laughter, is palpable.

Simon Cartwright’s portrayal of Bob Monkhouse truly captures the essence of the famous comedian and presenter whom many of us will remember from shows like Opportunity Knocks or Family Fortunes. The voice is spot on; it sounds like Bob is really on stage, once again the mannerisms and stage presence of this comedy great is exceptionally accurate. I was really struck with Simon’s way of dealing with Bob’s difficulties; a comedy partner who committed suicide, a disabled child, a difficult marriage. Although his character is quieter and more reserved than his co-stars he still stands shoulder to shoulder with them, which is impressive.

From the moment Bob Golding enters as Eric Morecambe, it’s as if the late comedian has bounded back to life on the Millennium Centre stage; Bob bounces across the stage with all the exuberance that Eric was so famous for. As with the other performers, it’s eerie. The voice, the mannerisms, the way of simply ‘being’ with the other comedians speaks of years of admiration of Eric and honing his craft to create him on stage. Sheer joy is counterbalanced perfectly with his quieter discussions about Ernie being like his ‘comedy brother’ and the family he never sees to pursue his comedy dreams in his duo.

So yes, this is a ‘laugh a minute’ as other critics have said, but what truly gives it its staying power is ultimately the portrayal of the human beings behind these facades. It was interesting to hear that the play had gone to New York and, although the theatre goers there didn’t really know the comedians being portrayed, it was the familiar ‘lived in’ experience of simply being human that still made the production resonate with the stateside attendees.

If you love any, or all three of these personalities then this is a must-see. But even if you don’t know their catalogue of work, it’s still an important piece of theatre to attend. It’s a masterclass in storytelling; the last twist of the story, the final flash of the mirror lights and the final call to stage are devastating and brings a tear to the eye where there were, only moments before, a ‘last laugh.’

(4 / 5)

Concocted from the brains of The League of Gentlemen writers, Jeremy Dyson and Andy Nyman, after Nyman walked past The Fortune Theatre, showing The Woman in Black. You can definitely see the inspiration that Ghost Stories draws from the Susan Hill penned classic, but it deviates and twists and turns in ways that could only come from the brain of writers such as the duo behind The League of Gentlemen!

The production is unusual in that its publicity material contains no stills or videos of the actual show, just audience reaction. This means I enter the theatre, (alone might I add!), with complete trepidation at what is about to happen! All I was aware of was that the show had no interval and no readmittance once the show had begun and, therefore, no escape! I also knew that it would be a collection of stories collated by our guide through the paranormal, Professor Goodman…

I feel with this kind of show, it lives and dies on the quality of its performers. Luckily, the talent on show here is clear and immediately obvious. Lucas Albion as Professor Goodman is the glue that holds this production together, bumbling onto the stage from an auditorium door and immediately into the hearts of the audience. His job is a difficult one; to hold the stories together and to entertain us in the interim. Lucas is brilliant, he holds the audience in the palm of his hand whether taking us through a slideshow or demanding the audience raise their hands if they themselves have had a ghostly experience. These sections could easily have lost the audience, but Lucas is a master at building the tension and at times the humour of the piece.

Our stories are portrayed by one actor per story. Again, these sections could easily become tedious, but the acting here is masterful. David Cardy portrays slightly crotchety, but endearing nightwatchman, Tony Matthews. Without giving too much away, there are long stretches here of quiet or silence, which David builds into tension with ease. He balances this perfectly with hilarious moments such as her berating of the poor Russian nightwatchman who keeps radioing him. I could feel the audience around me on the edge of their seats as Tony flashes a single torch beam across the stage and the final payoff resulted in screams mixed in equally with terrified laughter.

We blend seamlessly into the other stories which feature Preston Nyman as Simon Rifkand and Clive Mantle as Mike Priddle. Preston is perfectly cast as the hapless Simon who is driving home from a party in the early hours of the morning (without a licence, I might add!). His comic timing and sheer fright at the incidents that occur in his story are a sight to behold. The audience were roaring with laughter which immediately became jumping out of their seats and screams of fear. An excellent, balanced performance. Clive Mantle as Mike also blends comedy expertly with a nuanced, thoughtful moments too. His portrayal of ‘the prophet’ businessman is believable, his cockiness and confidence from the business world mixed in with his more tender moments about his wife and his fear at telling the story.

Alongside this talented cast, we have an impressive set created by Jon Bausor. The ‘intermissions’ between stories allow the sets to change with ease and they really are a sight to behold. Mixed with the constant billowing smoke which only helps to increase the tension, I was surprised at the sheer kinetic nature of the set which moves and flows around the actors and the illusions of depth and space that is created by the set design. Teamed up with constant, unnerving sound curated by sound designer, Nick Manning, excellent lighting (and lack thereof!) from James Francombe and very smart special effects from Scott Penrose, the production values of this show are incredible and, I must admit, unexpected!

All in all, this far exceeded my expectations in every sense of the word, made me jump (more than once), weaved a very clever and unexpected twist that I certainly didn’t see coming and gave me a huge sense of unease which is with me still today! I will definitely be keeping the secrets of Ghost Stories as, even if I was to try and explain what I had seen, I don’t think I would truly capture the essence of what the show achieves. Yes you’ll jump, you might scream, you might laugh hysterically but you will have a great night out and come away thinking about what you’ve seen for a long time to come!

What do you get when you mix the creators of South Park with the co-creator of Avenue Q and the songs of Frozen and Frozen II? It’s a riotous, crude, hilarious, downright naughty affair with some devilishly catchy songs to boot. The Book of Mormon marches, ‘two by two’ back to the Wales Millennium Centre on its latest tour stop and I’m glad to report it’s still as jaw achingly funny as before and choc-full of heart (as well as innuendos, ‘outuendos’ and everything in between!).

The story follows the endlessly optimistic and faithful, Elder Price (played by Adam Bailey) who has finished his Missionary training and is dreaming of a two-year Mission in his favourite place in the world; Orlando, Florida. However, his prayers are answered in a distinctly ‘different’ way when he is paired up with the hapless Elder Cunnigham (Sam Glen) and packed off to Uganda, where War Lords have the towns in an iron grip and there is definitely no Sea World or Disney World…

What follows is the pair’s journey to convert and baptise the Ugandans, and to ‘do something incredible’ whilst the residents just shout Hasa Diga Eebowai (which definitely does not mean, ‘no worries for the rest of your days!’). It’s not a show for the faint hearted; with the creators of South Park at the helm, you wouldn’t expect anything less, but what I love about the show is their ability to use that dark, sometimes crude sense of humour but create something that’s still got such an important message at its core.

The Mormon sections are truly delightful, from Hello to Turn It Off, the ensemble of Latter-Day Saints are excellent, led by Tom Bales who is an excellent and hilarious Elder McKinley. Vocals are en pointe and the dancing, especially the showstopping number, Turn It Off (pink sparkly waistcoats and tap shoes!) is a joy to behold. Adam Bailey is perfectly poised as ‘perfect’ Mormon, Elder Price and his fourth wall breaks to look at the audience are so well timed executed without fault. His vocals, in I Believe especially, soar. He is teamed with Sam Glen as Elder Cunningham who captures the audience’s hearts immediately. He is our anti-hero; flawed but with such good intentions and his joy at finding his ‘best friend’ in Elder Price is infectious. I especially loved, Baptise Me, his duet with Nyah Nish as Nabulingi. His constant changing of her name is brilliant, especially a very topical one towards the end of the show. Not much ‘reform’ needed to that part of the show, the audience thought it was brilliant judging by the reaction!

The Ugandans are exceptional, led by a gentle, lovely vocal performance by Nyah and hilariously deadpan Kirk Patterson as Mafala Hatimbi. The singing here is exceptional, from Hasa Diga Eebowai to Joseph Smith American Moses, and they have some of the best lines in the show, ‘one liners’ that have the audience in stitches immediately.

This is not a show for the faint hearted and, yes, it could be seen as coarse or even lewd, but what Parker, Stone and Lopez have created here has a much deeper story and emotions underneath all the surface level crudeness. The human experiences portrayed here are as deep and true to life as any more serious musical and can capture the imagination of any theatre goer. So, don your crisp white shirt and black tie, pop on your name badge and get down to the Millennium Centre to be converted. With songs so catchy it should be sinful, laughs that will leave you with jaw ache and an exceptionally talented cast and ensemble, you’ll be seeking redemption if you miss it!

Sherman Theatre Stiwdio – 17/06/25

Elise Davison’s Martha is a glamorous, playful and fiercely political production that manages to be both joyful and deeply uncomfortable. Staged in the Sherman Theatre Stiwdio, it throws us into a dystopian 2055 where deafness is pathologised and BSL is criminalised – a chillingly plausible warning of unchecked authoritarianism.

The set and costume design were particularly striking — glamorous, bold, and effective. While the futuristic style occasionally felt a little on-the-nose, overall Carl Davies’ work was impressive. The world-building was visually immersive and immediate. From the moment I entered the space, I was asked for a “secret passcode” — a sign in BSL I would later be taught. A tattoo was stamped on my hand, and an actor enthusiastically welcomed me into the world of Martha. The layout and setting were clearly well thought through. Intimidating? Yes — but also exciting.

Before diving into the dystopian future, Davison allowed a moment to reflect on a quieter history: an island once home only to deaf people, where everyone used sign language. After this unconventional prologue, the audience was asked directly, “Are you hearing?” — followed by a patronising, “Oh, you poor thing.” A small but loaded exchange that immediately set the tone. Thoughtful, and unsettling in exactly the right way.

The use of clowning, physical theatre and exaggerated, flamboyant characters brought energy and was articulated particularly well by Granville (played by Duffy), whose performance was a standout. At times, though, the tone bordered on being silly. Some scenes – especially the musical or more panto-like ones – veered away from the serious subject matter, which could be jarring. Still, these playful elements made the heavier themes feel more accessible for a wide audience. They also injected a sense of humanity into a world where that very humanity is being stripped away.

There was a notable split between naturalistic scenes and surreal, exaggerated ones. This contrast wasn’t always smooth. I often found myself struggling to stay engaged – the lack of live sound and reliance on subtitles meant I was constantly shifting focus, scanning for words instead of watching performances. This disconnect felt particularly frustrating in emotionally charged moments – looking at subtitles instead of faces, reading instead of feeling. It’s something hearing audiences aren’t used to – but maybe that discomfort is exactly what the production wanted us to sit with.

Davison’s integration of BSL throughout the show was powerful – not as an add-on but woven into the form itself. In that sense, Martha wasn’t just inclusive – it challenged what inclusivity in theatre looks like. A show not about deafness, but made for deaf people, by people who care about that representation. The message landed clearly: difference is not illness, and the fight for rights is far from over.

However, while the themes – medical control, state propaganda, forced erasure – were undeniably timely and important, I felt the production didn’t always trust them to carry weight. Torture scenes, disappearances and threats were sometimes overshadowed by a tone that felt too “soft”. The cutesy, cabaret-like atmosphere occasionally took away from the emotional punch those ideas deserved.

The ending, though, was the strongest moment. A rousing, urgent call to action: “I’m still here!” A final plea for resistance, for visibility, for community.

Martha isn’t perfect – and maybe it shouldn’t be. It’s messy, experimental, bold, eclectic and emotionally complicated. For all its structural flaws, it sparks conversation. It’s not just a show about the future – it’s a challenge to audiences now.

(4.5 / 5)

On the face of it, Steel is about a 17-year-old boy called James (played by Jordan Tweddle) in West Cumbria, who discovers that he is heir to a small stretch of British rail, and if he can claim it, he will get half a million pounds. Him and his friend Kamran (played by Suraj Shah) are thrust into a treasure hunt around town, talking to various family members to find the contract in time. There is a lot more to the show than just this though. There is a lot more to unpack.

My pre-conceived notions about this play were a little off the mark, because when I saw the offer to review this show and the location as Port Talbot, with the timing of Port Talbot’s Tata Steel factory closing down, I thought it was about two late teenagers growing up there and the impact of the factory restructuring on the industrial town and its people. I brought my dad (who worked in Tata Steel in Trostre) to see the show with me on the basis of this. I wasn’t all wrong: it was about a steel town and its people, but the location and surface-level story were different.

The New Plaza (the show’s venue) is a community building, not a big theatre venue, and hosts a wide range of activities like films, gym classes, arts and craft events, and more. Walking into a small community hall room, with two small rows of audience on either side of the stage and minimal set, I immediately got the impression of an intimate performance. The floor was cartoon-like black and white drawings of a factory with chimneys and smoke, a town hall, a tearoom, and steel train tracks. A bench decorated in the same cartoon pattern sat above where the tracks crossed over, and there was a small stage and microphone on the other end of the space, and a structure made of steel behind it, which displayed the time like a digital alarm clock throughout the show. This experimental and budget-looking set contrasted with expensive and professional lighting, and computers and tech boards, who manned the speakers and lights. This wasn’t meant to be a big-scale production, and the locations on their tour were village halls and the like, so the set and atmosphere even pre-show definitely reflected this.

The show opens with James standing in front of the microphone, telling us how it started. The writing of the show makes it clear that they know they are describing and showing us an event, it’s aware of itself as a piece of theatre, Brechtian style, and it suits all aspects of the production, including the set, delivery of the lines, and physicality of the actors.

The lighting and sound throughout this production was so atmospheric and aided the acting in conveying the story and subtext. An example of that was at the start when they played the sound of an angry and impatient crowd with red lighting until James steps onto the microphone, when it changes to a cool temperature and the sound becomes more subdued. It also had beats which got faster at more serious parts of the script, until it got to its highest point before breaking off.

The acting was excellent. With only two actors, quite a fast-paced script, and lots of movement, they had to be completely present in the space and aware of the dynamic between each other, and you could tell they were completely in the performance. I thought it would follow each character equally, but it was mostly about James and his relationship to Kamran, not Kamran as a whole. I was initially a little disappointed with that, but Shah was tasked with taking on the vocal and physical mannerisms of many other characters in the retelling of the story to the audience, and because of his incredible talent in that respect, it made up for it. The only aspect I found challenging was understanding their lines at times, which I think was a mixture of the Cumbrian accent, not hearing them when they directed their lines to the audience on the other side of the stage, and the fast-paced nature of the piece. Because of the space, the sound doesn’t reverberate back, so at times, audiences on both sides are going to miss the odd line. Because of this, it was difficult at times to follow exactly what was happening, which isn’t ideal, but you can follow the gist of the story anyway.

The writing of the script was also fabulous, with an almost poetry-like rhythm to it, and other aspects of the piece complimented it. It handled serious topics well, but had moments of comedy to break it up, with many jokes and sarcastic comments that fit British humour as a whole, so any audience it goes to can understand it.

The ending mirrored the start and reflected the themes of the story, whilst also letting it apply to the wider world. There was significant character development, and James talked about finding someone who lights you up and about the fact that it’s not about the steel itself that makes the steel town, but the people. The play isn’t really about the end, but the journey James goes on.

I think every aspect of this production complemented each other really well, and it was a very high-quality show. The setting, lighting, sound, writing, actors, and the story had huge depth, with a story on the surface but a wider and deeper theme in the journey, the process of getting to the end. I would urge anyone who enjoys intimate performances, where the show encourages you to reflect on your own beliefs and views on humanity and the world around you, to see this show. If you can’t catch this show on its last stop in London, I’m sure it will be commissioned for another tour, so you’ll just have to catch it then!

Based on the 2015 book that debuted in the number one spot on the New York Times Fiction Best Sellers list and the 2016 film starring Emily Blunt, a lot of the audience will be no stranger to the psychological thriller, The Girl on the Train. It’s a hard ask of a new play adaptation to maintain that suspense and climax when, let’s face it, a lot of the audience probably already know the ending! The stage version, which debuted in May 2018 at Yorkshire Playhouse, is adapted by Rachel Wagstaff and Duncan Abel and is a feat to fit this 320 page turner into a just 2 hour play without losing any of the grit or drama and without leaving the audience totally in the dark. I’m pleased to report that this adaptation ably pays homage to its source material whilst also being its own, worthy, entity.

The stage is very bare, but reminiscent of Rachel’s mind itself; the blank spaces representative of the blackouts and gaps in our lead character’s own memory. The starkness of the stage aided rather than detracted from the action; with no massive set pieces to distract, the action entirely centres on the cast and ensemble’s actions and speech and you find yourself on the edge of your seat to catch every word. I also loved the projection screens at the back of the stage, cleverly adapted and used to create Rachel’s train journeys, the rain pouring down the windows of the flat, Megan’s artwork and more. The use of lighting was also effective, with train tracks appearing down the rake of the stage and characters disappearing and reappearing into floods of light. It reminded me again of our unreliable narrator, struggling to see clearly through the haze of her memory.

Director, Loveday Ingram, ably brings the piece to life and I especially loved the scenes with flashbacks where missing woman, Megan Hipwell, reappears and helps us to piece together what she was like. I enjoyed the forays into the past as Rachel watches on, living through the parts of Megan’s life that may have, until now, remained hidden. It helped the audience to really see Megan as a living, breathing person, not just a statistic and the direction of these segways really helped; Rachel shrinking back to the shadows as the main action shifted backwards. I also loved the use of ensemble throughout the piece; the train coming to life with commuters or party goers without so much as a set change, all kudos to the direction and movement of the play.

Louisa Lytton, leads an excellent cast, having taken over the role from Giovanna Fletcher on 15^th April. Probably best known for her time in Eastenders, she’s also no stranger to psychological thrillers onstage, having recently played Jenny in 2:22 A Ghost Story on its nationwide tour. Louisa brings Rachel to life with ease, the unreliable narrator of the piece, the girl who has created a whole life for the woman she sees on her train journey every day. She never descends to pastiche, creating a real, 3D Rachel Watson who is undeniably flawed but whom the audience still roots for. Her ability to really draw the audience into Rachel’s plight to help find Megan’s killer is really enthralling to watch and her journey is one I became thoroughly invested in throughout the 2-hour run time.

Natalie Dunne as Megan Hipwell brings real depth to Megan Hipwell, the missing woman made flesh through her performances in the flashbacks. Her anguish and fears are palpable, particularly in her scenes with psychologist Kamal Abdic. Zena Carswell plays Anna Watson, the woman who has usurped Rachel’s marriage. I enjoyed the way Zena so ably showed us Anna’s descent, so eerily like, so we find out, the way Rachel has fallen.

Daniel Burke as psychologist, Kamal has a wonderful resonance of voice which gives the character a real gravitas. His scenes with Zena’s Megan Hipwell are particularly poignant, as the character struggles with the line blurring between professional and lover. Samuel Collings shows us the grief and anger of Scott Hipwell as he navigates first the missing and then the murder of his wife. Some great light and shader here with Samuel cleverly flipping between misery and aggression. Jason Merrells also deftly shows us every side of Tom Watson, adoring husband, concerned ex-partner and more as the plot develops. A very convincing performance. Finally, I thoroughly enjoyed D.I. Gaskell, brought to the stage by Paul McEwan. A believable detective, with moments of lightness and humour delivered with skill to break the tension inevitably created by a piece such as this. All in all, a talented and able cast and ensemble who were a delight to watch.

Whether you’ve read the novel, seen the film, or go in completely blind, this production of The Girl in the Room will keep you guessing, gasping and on the literal edge of your seat. I went in without any knowledge of the plot and the reveal was delivered with a poise that kept me wondering right up until the end. The plot is drip fed to the audience and leaves us breathless with anticipation. If you’re a fan or totally new to the story, the ‘thriller that gripped the world’ will go on thrilling, and gripping, every audience member that dares to embark on Rachel Watson’s journey.

(4.5 / 5)

Christmas 2018, Banksy gives a unique present to the town of Port Talbot; Seasons Greetings, an artwork painted onto the garage belonging to local, Ian Lewis. The image, poignant in its positioning, location and ability to stir up the emotions of the inhabitants of the town, literally takes centre stage in this new production from Theatr3. In the weeks following the gifting of the artwork, Theatr3 spoke to the people of the town about their thoughts and feelings on the piece and the wider implications of it being in the industrial landscape of Port Talbot.

Writer and Director, Paul Jenkins and writer, Tracy Harris, have taken over 150 hours of audio and created a piece which is truly reflective of the voices of the people of Port Talbot, because it is literally their voices and their words which have been fully integrated into the piece. The play feels like a conversation with the people of Port Talbot; the audience are truly involved in the piece because of the brilliance of the delivery and the truthfulness of the lines. I have not seen a play before which captures the Welsh voice so well; the naturalism of the speech, including the pauses, the ‘umms,’ lines punctuated by the inhalation of a cigarette with no concern to the listener, it’s all so true and reflective of the community it is representing, without being condescending or belittling.

Design, sound and video blend seamlessly here to create an audio and visual landscape of the steel town (Design by Cai Dyfan, Video by Andy Pike and Ethan Lloyd of Apel Studios, sound by Georgina Nobbs and additional composition by Dai Griffiths). I loved the ever present ‘towers’ complete with lights, changing colours and twinkling throughout, creating the industrial beauty of Port Talbot. The main visual of the ‘garage’ in the centre is used to great effect, first bearing the image of the ‘Port Talbot Banksy,’ but changing throughout to the local greasy spoon, the Marie Curie charity shop and even at one point bearing the mantra, ‘Cofiwch Dryweyn.’ Simple but effective was the ‘removal’ of the artpiece, the image slowly rising upwards as smoke billowed, sounds echoed around the theatre and Time To Say Goodbye resonated, as the residents stood silently by and watched their Banksy being taken away. 

With inspiration drawn from Brecht, the actors change roles in the blink of an eye. Two rails of costumes and props line stage right and stage left, and they leave stage as one character only to, almost immediately, appear as another. The physicality of every performer is brilliant, never leaving you in any doubt as to the transition to another role. Clearly hours of work have been put in here to faithfully recreate the voices of the people of Port Talbot, it is eerily accurate, even stammers and incorrectly chosen words are copied and presented here, with my personal favourite being ‘muriel’ instead of ‘mural. The cast are, without exception, phenomenal. Matthew Bulgo, Holly Carpenter, Ioan Hefin, Simon Nehan, Jalisa Phoenix-Roberts and Kerry Joy Stewart multi role throughout the play; ever changing accents, voices, physicality, social backgrounds and life experiences.

There is much comedy to the piece, moments where the audience are rolling with laughter, rapidly juxtaposed with being brought close to tears. Port Talbot Gotta Banksy pulls you through a whirlwind of emotions as ever changing and flighty as the emotions of the town itself. The human experience of the show is starkly set against the experiences and shared history of the whole town. Act One deals with the artwork, yes, but Act Two dives deeper into the wider issues enveloping Port Talbot; the precarious balance of wanting the furnaces to stay for employment contradicted by the lived experiences of the residents; the soot lining their windowsills, the clothes on the line turning orange, the 33 year old dying of asthma and COPD. As an audience member, you feel torn between the steel worker, who’s worked at the furnaces for his whole life, who cries ‘in front of his butties’ and the council worker who urges us that we should be looking to the future. The uncertainty for the future, the fear of change, a town scared that it’s being left unnoticed and uncared for, is palpable, it grips you and doesn’t let go.

With the recent support from the Government for Scunthorpe Steel, the timing of this production could not be better. The loss of so many jobs in Port Talbot whilst Labour steps in to help with potential nationalisation across the border must truly be a bitter pill to swallow for the residents of the Welsh town. The play that starts with an artwork but that goes so much further is one that you really need to see if you possibly can. It gives all sides and perspectives room to breathe and opens the debate further; allows an audience to see perspectives they may never have considered previously. Finally, the voices of the people recorded are truly heard; the actors remove their earpieces and the words they’ve replicated in the performance are spoken by the residents; the original recordings echo around the space and the voices of Port Talbot are given the ‘last word’ of the play.  

In the words of Derek Davies, whose poem features in the final scenes of the piece.   

‘Now the town has suffered dearly,

In that town that’s made from steel;

But you cannot take away their lives,

 it’s how the people feel.’